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백승진 한국중세근세영문학회 2002 고전·르네상스 영문학 Vol.11 No.1
밴부루와 바로크 시대의 종말 백승진 밴부루(1664-1726)는 영국의 왕정복고 시기동안 에서리지, 와이처리, 콘그리브, 파커, 셔라이던, 골드스미스 등과 함께 "풍습희극"(Comedy of Manners)의 열기를 이끈 중심에 서있었다. 오직 두 개의 창작극, 『타락』(1696)과 『성난 부인』(1697)만으로 시대를 대표하는 작가의 반열에 오를 수 있었던 밴부르의 작가로서의 역량은 군인으로, 건축가로, 한 런던 극장의 경영자로 그리고 오페라의 흥행주로 활약했던 그의 삶에 대한 정열과 어우러질 때 더욱 빛을 발하게 되며 그대로 그의 역사는 시대의 주요 사건들과 연결돼 있다. 따라서 본 논문의 목적은 밴부루의 작품 분석보다는 그 시대의 사건에 연루된 밴부루의 삶을 조명하여 왕정복고 시기동안의 극단과 사회의 주요 쟁점들을 조망하는 데 있다. 밴부루는 1696년 시버(Colley Cibber)의 희극 『사랑의 마지막 술책』을 관람한 후 극작을 결심하게 되는데 그의 첫 번째 창작극 『타락』은 재정적 어려움을 겪고 있던 "왕립 극장"(Theatre Royal)을 구했으며 그의 두 번째 창작극 『성난 부인』은 "왕립 극장"에 불만을 품은 배우들이 베터튼(Thomas Betterton)을 중심으로 새로 세운 극장 "링컨의 안 마당 극장"(Lincoln's Inn Fields Theatre)에서 대성공을 거두게된다. 반면 1690년대 사회적으로 커다란 반향을 불러일으킨 영국 국교 목사 콜리어(Jeremy Collier 1650-1726)의 극단에 대한 도덕성 문제 제기는 밴부루를 위험에 처하게 하기도 했지만 결국 두 사람의 희극에 대한 양립 될 수 없는 견해차이로 생각 할 수 있다. 즉, 콜리어에게 당시의 무대는 자유 사랑(free-love)과 불경(irreligion)의 열린 장이었으나, 밴부루에게 무대는 사람들의 있는 모습을 여과 없이 그대로 반영해야 하는 거울과 같은 역할을 해야 한다는 것이었다. 그러나 이러한 극단의 도덕성 문제의 사회화 이 후 밴부루는 더 이상의 창작극을 만들어 내지 않았다. 또한 밴부루의 많은 프랑스 번안극들은 영국 극단에 "풍자적 우화"(satiric allegory)의 유행을 불러일으켰지만 교회뿐만 아니라 중산층의 "도덕 관념"(moral sense)에 충격을 준 콜리어의 노력으로 "바로크 시대"(the age of Baroque)가 "감상의 시대"(the age of Sentiment)로 넘어가는 시기에 밴부루는 건축가, 극장 경영자 그리고 오페라 흥행주로 활약을 하게 된다.
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영화로 읽는 주디스 버틀러: 젠더, 섹스, 몸의 새로운 가능성 논점에 대하여
백승진 문학과영상학회 2017 문학과영상 Vol.18 No.2
The essay is trying to raise and explore complex questions about sex, gender, and sexuality theorized in Judith Butler’s Gender Trouble, and then her critical ideas are analyzed and understood through several queer films. Butler’s theories focus on articulating gender as performative and offering a radical critique of sex as natural and innate in order to activate the possibility of subverting compulsory heterosexuality. The introduction calls into question gender as a norm, introducing Butler’s short speech on gender. The chapter II explores the concepts of cultural intelligibility, performativity, drag, parody, and butch/femme identity, analyzing Simone de Beauvoir’s ideas on gender and sex. The films of Farewell My Concubine (1993), Paris is Burning (1990), Like a Virgin (2006), Madonna: Truth or Dare (1991), The Kids Are All Right (2010), and The Incredibly True Adventure of 2 Girls in Love (1995) are analyzed. The chapter III focuses on the relationship between sex and gender, and shows sex not as natural category but as political one. The films of You Don’t Know Dick (1997), The Crying Game (1992), M. Butterfly (1993), and Hedwig and the Angry Inch (2001) are discussed. In the conclusion, new possibilities on gender, sex and body are presented, based on the ideas of the impossibility of relying upon the sex/gender system as a marker of identity and the fluidity of sex and gender categories.
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서버상태의존 도착률을 갖는 M/G/l 모형의 최적 제어정책
백승진,허선,Paik, Seung-Jin,Hur, Sun 한국산업경영시스템학회 1997 한국산업경영시스템학회지 Vol.20 No.43
M/G/1 queueing system is one of the most widely used one to model the real system. When operating a real systems, since it often takes cost, some control policies that change the operation scheme are adopted. In particular, the N-policy is the most popular among many control policies. Almost all researches on queueing system are based on the assumption that the arrival rates of customers into the queueing system is constant, In this paper, we consider the M/G/1 queueing system whose arrival rate varies according to the servers status : idle, set-up and busy states. For this study, we construct the steady state equations of queue lengths by means of the supplementary variable method, and derive the PGF(probability generating function) of them. The L-S-T(Laplace Stieltjes transform) of waiting time and average waiting time are also presented. We also develop an algorithm to find the optimal N-value from which the server starts his set-up. An analysis on the performance measures to minimize total operation cost of queueing system is included. We finally investigate the behavior of system operation cost as the optimal N and arrival rate change by a numerical study.
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백승진 현대영미어문학회 2014 현대영미어문학 Vol.32 No.1
The main purpose of this paper is to show the differences between ‘gay’ and ‘queer’ drama. A certain critical distance between the two terms has been ignored. So, some critics use queer as an umbrella term including gay and lesbian. It is true that the existence of queer theory would be unimaginable without the preceding lesbian and gay studies. From the beginning of the 1990s, however, queer theory has developed its own sphere different from lesbian and gay studies, borrowing post-structuralist’s ideas. Lesbian/gay movements have basically focused on the notion of identity politics, asserting that identity is the necessary prerequisite for political goals. On the other hand, queer interrogates the identity positions and destroys the notion of identity which is provisional and contingent. That is, the anti-identity critique of queer theory challenges fixed identity and normative sexual identifications. In Harvey Fierstein’s gay drama Torch Song Trilogy, Arnold is proud of his gay identity and tries to accept the middle class ideals. Caryl Churchill’s queer drama Cloud Nine shows that gender and sexuality are constructed by institutional and discursive forces, visualizing the parallel between colonial and sexual oppression.
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백승진 현대영미어문학회 2019 현대영미어문학 Vol.37 No.3
Herculine Barbin was a nineteenth-century French hermaphrodite. She was born in 1838 and was assigned the sex of female. Her family called her Alexina , but she was legally forced to change her sex to male in 1860. In 1868, he committed suicide and left his memoirs. Michel Foucault discovered the memoirs and wrote an introduction to the English-language translation of the memoirs. Judith Butler contends that Foucault’s short but significant introduction to the memoirs is in some ways contradicted by his theory of sexuality offered in The History of Sexuality, Volume I. According to Butler, Foucault fails to recognize the concrete relations of power that both construct and condemn Herculine’s sexuality, romanticizing her world of pleasures as the “happy limbo of a non-identity,” a world of that exceeds the categories of sex and of identity. However, this paper tries to show that Foucault’s interpretation of Alexina story does not fail in following his theory of sexuality. When his question “Do we need truly a true sex?” is considered in relation with Oscar Panizza’s “A Scandal at the Convent,” her world of pleasures with a non-identity has its meaning. .
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